Abstract
Puerto Rican musicians have put their stamp on the twentieth century and beyond with impressive musical contributions to the Americas and across the globe. This chapter presents a view of these Puerto Rican contributions from the perspective of Venezuelan musicians and aficionados. It also presents the argument that Puerto Rican musicians on the island and in New York have facilitated the development of salsa music as an idiom that has inspired musicians from other islands and countries and has given them the space to develop their own musics. The evidence presented here derives from musical analysis as well as from ethnographic data (gathered mainly in Caracas from 1993 to 1994) concerning the Venezuelan reception of Puerto Ricans, ranging from presalsa musicians such as Noro Morales and Humberto Morales to modern innovators such as Rafael Cortijo and Ismael Rivera.
Access this chapter
Tax calculation will be finalised at checkout
Purchases are for personal use only
Preview
Unable to display preview. Download preview PDF.
Works Cited
Aparicio, Frances R. 1998. Listening to Salsa: Gender, Latin Popular Music, and Puerto Rican Cultures. Hanover, New Hampshire: Wesleyan University Press.
Báez, Juan Carlos. 1984. El vinculo es la salsa. Caracas, Venezuela: n.p.
Berríos Miranda, Marisol. 1990. Salsa: Whose Music Is It? Paper presented at the Society for Ethnomusicology Annual Meeting, Oakland, California.
—. 1998. Con sabor a Puerto Rico: The Influence and Reception of Puerto Rican Salsa in Venezuela. Paper presented at the Society for Ethnomusicology Annual Meeting, Bloomington, Indiana.
—. 1999. The Significance of Salsa Music to National and Pan-Latino Identity. Ph.D. Dissertation, University of California, Berkeley.
Blum, Joseph. 1978. Problems of Salsa Research. Ethnomusicology 22, 1: 137–49.
Boggs, Vernon. 1992. Salsiology: Afro-Cuban Music and the Evolution of Salsa in New York City. New York: Excelsior Music Publishing.
Díaz Ayala, Cristóbal. 1988. El legado de Myrta Silva. La canción popular. Revista de la Asociación de Coleccionistas de Música Popular 3, 3: 45–47
—. 1981. Música cuhana: Del Areyto a la Nueva Trova. San Juan, Puerto Rico: Editorial Cubanacán.
Duany Jorge. 1996. Rethinking the Popular: Recent Essays on Caribbean Music and Identity. Latin American Music Review 17, 2: 176–92.
—. 1984. Popular Music in Puerto Rico: Toward an Anthropology of Salsa. Latin American Music Review 5, 2: 186–216.
Dudley, Shannon. 1996. Judging by the Beat: Calypso versus Soca. Ethnomusicology 40, 2: 269–298.
Feld, Steven. 1988. Aesthetics as Iconicity of Style, or “Lift-up-over Sounding”: Getting into the Kaluli Groove. Yearbook for Traditional Music 20: 74–113.
Gerard, Charley, and Marty Sheller. 1989. Salsa, The Rhythm of Latin Music. Crown Point, Indiana: White Cliffs Media.
Glasser, Ruth. 1995. My Music Is My Flag: Puerto Rican Musicians and Their New York Communities, 1917–1940. Berkeley and Los Angeles: University of California Press.
Manuel, Peter. 1994. Puerto Rican Music and Cultural Identity: Creative Appropriation of Cuban Sources from Danza to Salsa. Ethnomusicology 38, 2: 249–80.
Marre, Jeremy and Hannah Charleton. 1979. Documentary. Latin Music in New York and Puerto Rico.
—. 1985. Salsa: Latin Pop Music in the Cities. New York.
Padilla, Félix M. 1989. Salsa Music as a Cultural Expression of Latino Consciousness and Unity. Hispanic Journal of Behavioral Science 2: 28–45.
Pérez, Alirio. 1994. Conversation with author. Caracas, Venezuela.
Quintero Rivera, Angel. 1998. Salsa, sabor y control: Sociologia de la música tropical. Madrid y México, D.F.: Siglo XXI.
—. and Luis Manuel Alvarez. 1990. La libre combinación de las formas musicales en la salsa. David y Goliat 19: 45–51.
Rondón, César Miguel. 1980. El libro de la Salsa: Crónica de la música del Carihe urbano. Caracas, Venezuela: Editorial Arte.
Rosales, Geraldo. 1994. Personal Interview. Caracas, Venezuela.
Santana, Sergio. 1992. Qué es la salsa? Buscando la melodía. Medellín, Colombia: Ediciones Salsa y Cultura.
Singer, Roberta. 1982. My Music is Who I Am and What I Do: Latin Popular Identity in New York City. Ph.D. Dissertation, Indiana University.
Ulloa, Alejandro. 1992. La salsa en Cali. Cali, Colombia: Colección Crónicas y Periodismo. Ediciones Universidad del Valle: Cali, Colombia.
Waxer, Lise. 1989. Cali Pachanguero: A Social History of Salsa in a Colombian City. Ph.D. Dissertation, University of Illinois.
Discography
Colón, Willie. 1974. “Abuelita.” Fania 464.
Cortijo, Rafael, and Ismael Rivera. 1977. Duelo Musical, Sonora Matancera vs. Cortijo y su Combo. Tropical, TRLP 5131.
—. N.d. Quítate de la vía, Perico. Rumba Records, RLP 55548.
—. N.d. Baile con Cortijo y su Combo con Ismael Rivera: Rolando La’ Serie—Cortijo y su Combo—Ismael Rivera. Rumba Records, RLP 55552.
—. n.d. ¡Bienvenido!-/Welcome! Tico, LP 1140.
D’ León, Oscar. 1987a. “Juntos pa’ gozar.” Ríquiti. TH Rodven, TH-AM 2456.
—. 1987b. “No Soy Digno de Ti.” Ríquiti. TH Rodven, TH-AM 2456.
Feliciano, Cheo. 1973. “Mapeyé.” Felicidades. Vaya Records, VS 23.
Gran Combo, El. 1986. “Lírica Borinqueña.” El Gran Combo de Puerto Rico y su pueblo. COMBO, RCLP 2048, Serie 00898.
Grupo Guaco. 1989. “Noche Sensacional.” Personal audiocassette recording.
Palmieri, Eddie. 1980. “Mi Cumbia.” The Sun of Latin Music. Coco, CLP 109XX.
Rivera, Ismael, y sus Cachimbos. 1975. Ismael Rivera y sus Cachimbos: Esto Eue lo que Trajo el Barco.
Rosario, Willie. 1985. “Cuando Se Canta Bonito.” Willie Rosario: Quince éxitos. TH Records and Tapes, TH-AM F 2359.
Editor information
Copyright information
© 2003 Frances Aparicio, Cándida Jáquez
About this chapter
Cite this chapter
Berríos-Miranda, M. (2003). “Con Sabor a Puerto Rico”. In: Aparicio, F.R., Jáquez, C.F. (eds) Musical Migrations. Palgrave Macmillan, New York. https://doi.org/10.1057/9780230107441_4
Download citation
DOI: https://doi.org/10.1057/9780230107441_4
Publisher Name: Palgrave Macmillan, New York
Print ISBN: 978-1-4039-6001-6
Online ISBN: 978-0-230-10744-1
eBook Packages: Palgrave Social & Cultural Studies CollectionSocial Sciences (R0)